Manchester International Festival, various venues

Manchester International Festival

What is the City but the People launch event for Manchester International Festival.

Incorporating a programme of music, dance, theatre and contemporary art, Manchester International Festival is expansive. With daily broadcasts by BBC 6 Music’s Radcliffe and Maconie and regular email updates on what to do at MIF landing in my inbox, it can be difficult to find one’s own way into and through the programme beyond the mediated story of the festival with its pervasive marketing and slick imagery. Yet perhaps this very mediation provides an additional facet to the theme of storytelling that seems to echo throughout MIF’s varied programme. Laura Mansfield reviews

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Luke Willis Thompson: autoportrait

Luke Willis Thompson, autoportrait, 2017. Installation view, Chisenhale Gallery 2017.

‘autoportrait’ is an eight minute and 50 second 35mm black and white film produced collaboratively between artist Luke Willis Thompson and its subject, Diamond Reynolds. It is also intended as a ‘sister image’ to the video documenting the fatal shooting of her partner, Philando Castile, by a police officer in Minnesota, which she broadcast via Facebook Live on 5 June 2016 and which has consumed Reynolds’s identity over the past year. Review by Alice Bucknell

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39 Walker Street, New York, NY 10013

concrete realities

concrete realities, 2017, installation view, Bortolami, New York

Bortolami’s current exhibition, concrete realities, is a two-person exhibition by Tom Burr and Andrea Zittel. Since the 1990s, Burr and Zittel have trained their attention on the built environment, addressing questions of site-specificity, subjectivity, and the body. This exhibition focuses on their ongoing projects in sites outside of art world centres, which find the artists developing distinct, but congruent methods of tackling their overlapping spatial concerns.

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Helper Projects, 495 Rogers Avenue, Brooklyn, NY 11225

Bonded Warehouse

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Alina Tenser and Chris Domenick’s latest sculptural and performance work is currently on view at Helper Projects, New York.

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De La Warr Pavilion, Marina, Bexhill-on-Sea TN40 1DP

Simon Patterson: Safari: an exhibition as expedition

Simon Patterson, rehearsal of Seascape, 2017, with Bexhill Sailing Club

Simon Patterson’s ‘An Exhibition As Expedition’ takes you on a discursive and peripatetic journey, one which is immaterially played out in the mind of the visitor as they traverse the De Le Warr Pavilion. While doing this the artist sets out to undermine traditional bodies of 'stable' knowledge such as maps, museums and archives. Suggesting that meanings, not just in the world of art, are always in a state of shape shifting flux and that truth is just another strange sub-genre of fiction. Review by Matthew Turner

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Scotland Pavilion, Chiesa di Santa Caterina, Fondamenta Santa Caterina, 30121, Cannaregio

Venice Biennale 2017: Rachel Maclean: Spite Your Face

Installation view, Rachel Maclean, Spite Your Face, 2017.

The large portrait format screen in place of the altar of the deconsecrated church creates an ambience of a religious service and the audience are made to sit in pews. Maclean's previous work has taken Old Testament stories retelling them as contemporary fables that poked fun at cults and fads. 'Spite Your Face' presents the story of Pinocchio – one of those children's tales that having only known from the cleaned up Disney version is far darker than I assumed. Review by Piers Masterson

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

CONGLOMERATE: Station ID

CONGLOMERATE, Still from Desde el Jardin, directed by Sol Calero and Dafna Maimon, 2016.

An elaborate installation is the ‘absurdly complicated’ stage-set for the newest piece of ‘Gesamkunstwerk’ by Berlin-based artist collective CONGLOMERATE, presented at Tenderpixel as their first London-based project. The group comprises a core squadron of 5 artists and filmmakers including Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon, converging and disbanding at will in different cities and contexts in order to produce 30-minute ‘Blocks’ of programming that make a mess of traditional genres. Review by Alice Bucknell

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Estonia Pavilion, Palazzo Malipiero, San Samuele Square, San Marco 3199, 2nd floor, Venice, Italy

Venice Biennale 2017: Katja Novitskova: If Only You Could See What I’ve Seen with Your Eyes

Katja Novitskova, If Only You Could See What I've Seen with Your Eyes, exhibition view at the Estonian Pavilion, Palazzo Malipiero, 57th Venice Bienniale

Outside the entrance of the Estonian Pavilion in the 57th Venice Biennale, the phrase ‘If only you could see what I’ve seen with your eyes’ is printed on a poster in glowing red type. Katja Novitskova’s exhibition title originates from the 1982 post-apocalyptic film ‘Blade Runner’ and points toward several themes that run throughout the exhibition. Review by Ashley Janke

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Bluecoat, School Lane, Liverpool L1 3BX

Siobhan Davies Dance: material / rearranged / to / be

Siobhan Davies Dance, Material / rearranged / to / be at Bluecoat, 2017

‘Material / rearranged / to / be’ is a performative installation by Siobhan Davies Dance that completed its tour at Bluecoat. Daily performances took place throughout the day in the galleries and adjacent corridor. This was a complex proposition with new works by six choreographers, two visual artists and a design collective to create a landscape in flux. Kate Self reviews

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CANADA 333 Broome St, New York, NY 10002

Tomorrow Tomorrow

Installation view, Tomorrow Tomorrow, 2017

Tomorrow Tomorrow, curated by Stephanie Snyder, the Anne and John Hauberg Curator and Director of the Cooley Gallery, and Wallace Whitney, is a group exhibition featuring Demian DinéYazhi’ and Noelle Sosaya, MK Guth, Jessica Jackson Hutchins, Kristan Kennedy, Evan La Londe, Charlie Perez-Tlatenchi, Michelle Ross, Storm Tharp, and Heather Watkins. These nine artists are preoccupied with physical abstraction, changeability, and working with materials to shape space with emotional purpose.

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Turner Contemporary, Rendezvous, Margate, Kent CT9 1HG

Michael Armitage and Phyllida Barlow: Every Day is a New Day

Phyllida Barlow, installation view, Turner Contemporary

‘Every Day is a New Day’ is comprised of two solo shows, and as such comparisons are inevitable. Different as the work of Phyllida Barlow and Michael Armitage are – in medium, in scale, in cultural and social preoccupations – it is difficult to get away from the sense that one is being led through a critical narrative. Review by Benedict Hawkins

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